Transcripts
1. Class Intro: Greeting Skills class. Before we dive into the world
of artist flower painting, I want to share a
bit about myself. I am a self taught
artist who completed schooling and graduated in
the vibrant city of Dubai. My artistic journey began to blows and during my school days, when I was honored with
the first place in an inter school
painting competition for a detailed landscape piece. Driven by a fusion of academic and an unwavering
passion of painting, I found my way into the
enchanting realm of art. My teenage years, I achieved notable success in various
drawing competitions, which fueled my
desire to explore and expand my skills in
the field of visual arts. Venturing beyond the classroom, I participated in
a few exhibitions, each experience contributing
to my growth as an artist. Today, I am excited to be a ski teacher where I
have the privilege of connecting with people
like you and sharing the knowledge and techniques I have occurred over the years. You can catch a glimpse of my ongoing creative endeavor and connect with me through my
social media handle Sun Cafe. For a more in depth exploration of my portfolio
and artistic journey. Feel free to visit my website at Sonathanishan.com
I'm thrilled to be part of this artistic
endeavor with you all. I look forward to learning, creating, and sharing our
beautiful works together. Let's make this class a
space for inspiration, creativity, and mutual growth. Welcome board.
2. Class Overview: Welcome to our exciting
painting class where we will embark on a creative
journey to capture the intricate beauty
of the iris flower. Here is an overview
of what we expect in our session in the class focus. Our main focus will be on painting the mesmerizing
iris flower, a botanically wonder for its
unique and striking feature. We will pay special
attention to details like the beard and delicate
folds of the petals. When coming to the
color palette, we'll be working with a
limited yet powerful feature. Ivory, black, permanent blue, crimson, lake yellow
and white wash. This restraint selection will not only simplify the process, but also encourage mastering color mixing when coming to
the techniques and scales. Throughout the class, we will explore fundamental
watercolor techniques, including layering brushwork
and color blending. The addition of yellow
and white quash will allow us to experiment with texture capacity and highlights providing depth to our
Flotal masterpiece. I will provide you
a step by step guidance offering insights
into observation, skill composition, and the effective use of
our chosen color palette. The goal is to help you develop a key eye for
botanical details and enhance your oticolar and
quash painting skills while following a
structured approach. There is room for your
creativity to shine. Feel free to infuse your style, experiment with
different techniques, and let the iris probably become the unique expression of
your artistic vision. The materials we needed
are water color paper, water color paint brushes, water containing
palette tissues, pencil eraser, and
a drawing board. Or ease the incorporation of yellow and white wash and
vibrancy to a color palette. Make sure you have a uh of white and yellow When coming to
the class interaction. This is a collaborative
and supportive space. Share your thoughts, share
your progress as Christians, and connect with fellow artists. Your unique perspective and contributions enrich the
collective learning experience. Get ready to immerse yourself in the beauty of botanical art. As we paint the Irish
traveled together. Let's make this creative, fulfilling, and
enjoyable journey.
3. Supplies: Welcome aspiring artists. Before we embark on
our creative journey, let us familiarize
ourselves with the materials that will bring our artistic mission to life. Here are some list of essential tools you will need
for our upcoming session. First, we need a
watercolor paper or a watercolor sketchbook. Choose a high quality
watercolor paper to provide the ideal surfers to
your painting look for the weight of at least
300 GSM to prevent wrapping, then we need watercolor brushes. Try to acquate range of watercolor brushes that
include round brush for detail and some fine
brushes for intricate work. Different brush sizes will give you versatility in strokes. Now coming to the
watercolor water container, a couple of water containers to clean your pressures
between colors. Keeping your water clean, Inch, vibrant, and
uncontaminated water. Uncontaminated colors,
Coming to the palette. Use a palette for
mixing and diluting your water color isamicor
Plastic palette with wells for each color will help you to achieve
the right consistency. Then coming to the
tissue or paper towel, keep the tissues or the paper
towel handy for bloating your pressures and controlling the amount of water
on your paper. When talking about
the pencil and deter, we need the pencil to and
as for erasing sketch, that's all we need
for this session. Remember, these are the
basics to get you started. Feel free to explore
additional materials as you become more comfortable
with a watercolor medium. Now let us prepare paper
and then a creativity. See you in the next session.
4. Knowing the Reference: Greetings my Artists. Before we immerse ourselves
in the T process, let us take a
moment to introduce a reference image that will inspire our upcoming
artistic endeavor. The reference image,
carefully selected for its compelling composition
and visual intricacies, serves as our guide in capturing the essence
of the subject matter. In this session, our reference features a captivating
interplay of light and shadow. Showcasing the delicate folds and curves is flower pattern. The limited palette
of ivory, black, permanent blue and crimson lake will be our
artistic companion. As we navigate the nonsense of this exquisite
floral composition, get ready to interpret, experiment, and breathe life
into the paper guided by the beauty and subtleties of
our chosen reference image. Let the creative
journey un food and may your precious dance
with the inspiration.
5. Color Palette: In this painting, we are using
a limited color palette. The colors are ivory, black, permanent blue
and crimson lake. Choosing a limited color palette like ivory, black,
permanent blue, and crimson lake, brings simplicity and cocussion
to your artwork. With fewer colors, there is a natural harmony that makes overall composition
visually pleasing. The restricted
palette encourages mastery in color mixing, allowing you to
explore various shades and tones with these three hues. The warm and cold tones within
this of a dynamic range, enhancing the atmosphere and emotional tone of your painting. This approach is not only
practical, but also economical. Streamlining your materials and focusing your creative decision. Embracing a limited
palette is a journey of artistic exploration
within defined parameters, providing a unique characteristics
artistic expression. When coming to the
center of the petal, I'll be painting
this yellow beard in yellow quash and
white white quash, incorporating yellow
and white quash into a palette paint. The beard introduces a vibrant and opaque
quality to your artwork. Yellow brings a lively warmth, while white adds brightness and enhances the
luminosity of your beard. All right, fellow artists, it's time to bring your iris
flower to life on the paper. Let's get started with the
actual painting process, with our limited color palette. Remember the techniques
we have discussed. Layering, brushwork and
unique qualities of a. Take a moment to set
up your materials, position your watercolor paper and ensure your
brushes are ready. Whether you're a seasoned
painter or just starting, this is the time to die
into the creative process. Feel the flow of
your colors embrace the simplicity of
our palette and let the iris flow unfold straw by struck now with the
precious in hand. Let's get started on
this artistic journey and enjoy every moment
of the creative process. Happy painting.
6. Painting Process Part-1: Welcome to the next session of our water color
painting glass. I hope you are all
feeling inspired. Here I have started the
painting with an initial wash or under painting of
blue, permanent blue. This is to set the mood
over the atmosphere to create an overall feeling
of that iris lover. After repeating the surface, plain water, I am
establishing values, looking at the reference image, establishing the shadows, veins, and leaving the highlighted
part untouched. Assist the dried players
of your painting. Considering the light blue
wash and any subsequent. As understand the ideas that meat values to create a more three
dimensional appearance. Keep the direction of your
light source in your mind. While adding meat values, the areas receiving
less light will generally have darker values. Choose the colors of emit values that are slightly darker
than the initial wash. This could involve
adding more pigment to existing calms or selecting in different colors that
complementing the base color. Here I have taken
the combination of blue, crimson, and black by tickling method and blending the id values
with the base color. By using the values to
define the contour of the petals and emphasize
details such as folds curves. This step contributes to the overall realism
of your waterglpat. As you can see,
it has already to build the death and really sun build up a painting with
multiple layers of water color. Always start with
lighter washes as an underpainting and gradually add darker colors for
shadows and death. Allow each layer to dry
before applying the next one. I am a rebating the
surface of the petal and focusing on the center part here. As the reference image says
to paint with the blue color. That blue is the four
p point of the petal we're painting,
the signal patch. The signal is a falls on an area is in the
place of the weird. As we progress I
will explain what is a beard and each separate
part of this pattern. Now I'm paving a blue was
on the center part of. That is where the color
is more prominent. That is a focal point
of a painting as well. We have to ensure
that it received most attention in
terms of detail, contrast, and color intensity. This will draw the viewer's eye and create a sense of emphasis. Now again, I am intensifying the colors taking a thicker
version of the paint, since the paper is still damp, we have to have a
controlled plenty. From this part onwards, we will start to paint
the detailing well, add little highlights
and textures, even fine lines to emphasize
the specific elements. And hence the overall realism. Being mindful of the drying
time between the layers, applying subsequent layers to semi dry or dry areas can
result in sharper details. While term technique
creates softer transition, the drying time should be
kept in mind when you paint. When we are experimenting with a limited palette to
maintain the color harmony, we can prevent our painting
from becoming overly complex. By doing so, we can focus
on a few key colors that help create a coercive
and a painting result. Now pay close attention to
the play of light and shadow. I'm gradually intensifying
shadows in areas where a Jtg lap or where the
light is less pronounced. I'm blending the mid values with the blue we have
already painted. Since the paper is getting dry, I am spraying the surface of the paper again, intensifying the color. You have to intensify the shadow part by using
the combination of black, blue, and little of crimson. This area where the light
is less pronounced, we have to ensure that our color choices work
harmoniously together. A cohesive color palette
contributes strain, unified, and visually
pleasing composition. Here is a fold happening and establishing the
veins, the petals. This time I am following the previous lines
I have already painted. At the top of the petal where
the highlight is happening. You have to paint the
colors in light wash. Now again, rebating the
surface after letting it dry on the top of the
pedal, towards the edge. Adding a little bit of permanent blue lighter wash. And gradually I'm
following the means we darker tones are happening. This time I'm
focusing on the fold by small straws, you
can blend the edge. As you can see, I'm
slowly blending the edge and a clean brush
and softening the edge. When you focus on the
bins of the petal, the highlighted part should be painted in the light
wash as it goes down. When the light is
less pronounced, you have to intensify
the colors. Now I am working on the
folds of the bitter. While paint is still wet, use a damp brush or
light version of the paint to blend the mid values into
the existing layers. This will always help to create a smooth transition between different values and
avoid harsh lines. Again, remitting the surface. I'm working on the
falls he folds. Should be worked in section. Increase the contrast between light and dark areas As you can see in
darkening the shadow, leaving the center part
untouched or in a lighter to bring out the high light and intensify those
colors by adding blue, this will enhance the
perception of depth. Working section, this
will help to focus. Now I'm blending the blue but keeping in mind that where the high
light is happening, I have to paint very
light wash on that part. Here the fold is happening, so I have to make
it darker towards the lighter version wherever the list light is pronounced. You have to keep
in mind that part should be painted in darker.
7. Part 1.1: A thicker version of black
eye painting and blending with the steady hand.
Carefully paint the wines on the pedal. Follow the lines you light
control stroke to it, the natural flow of veins. Consider the direction
of light and shadow to determine where
in might be more or less pronounced or prominent akin
intensifying the color. I am focusing on
the sepal of the petal at the same time intensifying the
way and the falls, enhancing the shared apart by
adding more darker values. If you're getting stuck
or you're unable to assess the painting process, step back and evaluate is
needed, make adjustments, or refine the mid
values to achieve the desired balance and depth
in your floral composition. When building death in
watercolor involves creating the illusion of three dimensionality on
two dimensional surface, we always have to start painting
with a lighter washes as an underpainting
and gradually are dark layers for
shadows and death. I allow each layer to dry
before applying the next one. We have to keep in mind, put the drying time,
how much water you needed for your
next painting. Here I am using permanent blue. I'm not going to mix any color
at this part because that is a focal part where
the blue is prominent. I want that blue to be
stand out in the center. When coming to a town where
the fold is happening, each falls must be painted
in darker version of blue. Now I'm blending the darker
tone to the lighter part. I am trying to experiment with some techniques like beton, wet and dry brushing to
create different effects. And this will help me to enhance the depth
of my painting. Here I'm dry brushing. As you can see, we have already started to build the tree three dimensionality
or realism in the better. From start to begin. When from start to end, always consider the direction of ploid source in your mind
while adding mid values. Every time here I'm blending the edge of the fold carefully by adding
more mid values. And as you can see, I am intensifying the shadow
by adding more darker tones. Here the water
should be very less, they should not be bleeding. You must have a
controlled blending. As you know, that part is
still wet. I am using better. We technique blending the values by adding more
variations in hues, by having a controlled
blending technique. This will help me to app the wet paint to a wet
surface selectively. By doing so, this will
allow me to blend the areas and keeping the, selectively, keeping the
selected areas crisp. I have painted the right
hand side of the petal, now I'm moving the
left hand side, intensifying the falls by
using the darker tones, thicker consistency of
paint with less water, keep the direction
of the light source. The areas receiving less
light will generally have darker mid values and
small folds are happening. And there you have it to
paint in lighter version. No, I am intensifying
the shadow part, padding more darker tones. This step is little crucial when building
death form and realism. And small lines, fine lines to capture the texture on. This step requires
patience and steady hand. So you take your time. Be tried to seek with your shadows to enhance the
three dimension effect. In painting. The veins on the petal chose the darker
shade of the base color, or a contrasting color
that complement the petal. So makes a concentrated
portion of this color palette. This will help me to have a transition between the darker
and the highlighted part. The vein, the vein lines are less prominent on the
highlighted part. There you have to
paint in lighted tone, but the in, towards a darker
side or the shadow part, the color may be
more dark there. You have to paint a
thicker, consistent while the veins are still wet. Clean the B and soften the edge slightly to
the highlighted part. This can create more
rated appearance. I'm again,
intensifying the falls by adding more darker tones. Always remember, practice is to key in working with watercolor
and intricate details. Experiment with different
techniques to find the approach that works best
for your artistic style. Adding a thin layer before
applying the next layer of water color can be a
technique known as T approach. Most of you know
that this method allows the colors to
blend more seamlessly. Creating softer transition
and subtle variations. Always make sure
your initial wash is dried completely or semi, right before proceeding
to the next step. Why the initial
wash to be dried? This will you to prevent
unwanted plenty with the previous layer, again, intensifying. But you have to be very cautious
not to always saturate. The goal is to create a darker version towards the light is less pronounced. You have to vary
the thickness of your line when
moving towards down, by increasing the
thickness to create more realistic effect. Always remember that. Achieving death is
a careful process. Each painting may require
a unique approach. As you add layers of death to your
watercolor masterpiece, enjoy your great journey. At the same time, take the time to experiment and a technique that suit
your subject matter. I am intensifying more tons
towards the shadow part. With the control blending using a bit value, I am blending the shadow
towards the light kepa palette, premised it's a variation of hues. This will help you to
choose the colors with different variations and bring more interest to the river side. I am working section by section towards the darker part. Pay close attention to
the play of light and shadow intensify shadows in areas where object overlap or where light is
less pronounced. At the same time,
you have to add more defined highlights
to catch the viewer side. Since this is the focal
area of our painting, we have to ensure that receive mot attention in
terms of detail, contrast and color in this will also draw the
beavers eye and create a sense of emphasize. Layering and technique is key, building upon the foundation
we have established. As you apply the knowledge gained from the earliest stages, focus on replicating the
approach for each veteran. Paying close attention to the unique conto shadows and highlights of each
individual blow. When tackling the depiction of petal folds with lighter values
in a watercolor painting, a mindful approach is
very crucial to ensure the visually compelling result within the realm
of lighted drones. The introduction of subtle
contrasts become paramount, adding layers of depth and preventing a visually
flat composition. When understanding the direction of the light source
is fundamental, highlighting areas
catches the light while seamlessly
transitioning into. Shadowed regions
enhancing the petals. Three dimensional quality, attending to the edges
of the folds Carefully, balancing between
the softening and defining contributes a natural
and organic appearance. Each brush work center staging, conveying the delicate
texture of the petal. Experimenting with
techniques like dry brushing or stripling captures
its surface intricacies. Introducing a careful
color temperature within the light areas
prevents monotony. Creating a dynamic interplay
of warmth and coldness. Transparency and layering, especially if the
petal is translucent, demand a patient and strategic application
of thin washes. Regular references to
real life examples or high quality reference
materials for the refines. The understanding of how light interacts with
the petal structure. Ultimately, a
harmonious integration of these considerations
guides the sy, contributing to a captivating
and realist portrayal of the petals fold
with lighter values. Navigating the intricacies of capturing the folds
and curves within the petal presents an
artistic challenge that is both demanding
and profoundly rewarding. In particular painting,
the key lies in careful observation and thinness of and a strategic
laying technique. As I immerse myself in the delicate task of
rendering these details, I rely on a fine brush
with a point tape, ensuring precision in depicting the curves within each fold. Employing a layering technique, I start with lighter washes, gradually building up shadows and recesses to revoke depth. The dry brush technique
becomes a valuable ally, allowing me to delicately stimulate the fine
texture within the fold. Patients and precision
become guiding principles, urging me to work
deliberately allowing each right before adding the
next as we part away. For now, I look forward to reconvening in our next session. Remember to keep practicing experimenting and finding
Joe in the creative process. Your unique perspectives
contribute to a rich tapestry of our artistic community until we meet again in
the next section, Happy painting, and
may artistic divor flourish with each stroke
of the brush. See you soon.
8. Painting Process Part-2: Painting, the anther at
the center of the petal in a watercolor artwork
involves a careful process. This brings attention to the intricate details of the
flowers reproductive system. Begin by closely
observing the anther, not in its shape, size, and
unique characteristics. Using a fine brush,
delicately outline, and the form with a light color, allowing a loose, yet
defined representation. Fill in the outline
shape with a base color. Considering any gradients or variations in color
that may exist. Here I'm adding yellow and magenda and blue, but we are establishing
variations in the colors. Within this style, there are more folds and
variations happening. You have to understand the reference image and
choose the color accordingly. Utilize negative painting
techniques to define shapes. Instead of painting the object
itself, paint around it, allowing the background to shape the foreman at more depth. Now we are working
in this style, intensifying the death by
adding more deeper tones, but with vagous hues. Now I'm working on
the stigmatic lip. The upper part of the stigmatic lip is
painted in lighter version, where the highlight
is happening. When moving towards the town
where the fold is happening, it should be painted
in darker version. Adding more death. To intensify the shadow area by incorporating darker tones, I'm working in the
center of the anther. Carefully refining the
texture and the edge and details by incorporating lines stifling to enhance realism. Consider the surrounding
details of the petal and the flower assay hall. Ensure the seamless integration. You have to step back,
evaluate the painting, and make adjustments to ensure the deccuracy and visual appeal. Now we will work on the beard part and keeping an underpainting
ivory black. Then we will work on
it by using yellow. Ah, I am fine tuning the texture by adding subtle lines and dots to mimic the
natural appearance. Now I have taken yellow wash. The use of place provides
a stark contrast, allowing the
subsequent application of yellow guh to stand out. Vividly, I'm
introducing yellow wash on top of the dried plaque, carefully layering
this lively color onto the darker
part of the beard. The application of gash allows for a more
opaque and intense lo, imparting a striking realism to the fuzzy texture
of the peer. This Larin technique, starting with a
dark underpinding and building of the cage, enables to create a dynamic and visually
appealing representation of the Irish lover's
characteristic. We are accentuating the fine
hairs and delicate texture. Now adding the
lighter version of the yellow to bring out the
high light on the beard, I have mixed white with the to make the lighter
version of yellow. As we approach the conclusion of this segment of
our artistic journey, I extend my heartful
congratulations to each and every one of you. My talented students,
your dedication, enthusiasm, and creative spirit
have brought us this far. And I'm genuinely proud of the progress and
commitment you have shown. Now, as we bid farewell
to this chapter, we eagerly anticipate the
next part of our exploration. I invite you to
carry the momentum forward as we delve into new technique, subject,
and challenges. Your willingness
to learn and grow is truly commendable and I'm excited to witness a
continued evolution of your artistic skill. Thank you for your hard work, for embracing the
creative process, for being an integral part
of our artistic community. I look forward to seeing you
all in our next session. See you in the next part
of our wonderful journey.
9. Painting Process Part-3: As we fast forward
through the repetitive, yet essential process of the painting of the
remaining petal, I want to encapsulate the
key principles we have explored in our journey of capturing the beauty
of this iris flower. Starting with a
careful observation of this iris distinctive features, we laid the underground
through under painting, A method that showcased the anther and beard
intricacies that deliberate strokes and thoughtful layering
lying technique, a lynch pinch in our
artistic process enabled the gradual build
up of depth and realism. The transformative use of, as exemplified in the Vi print, application of
yellow on the black, underpainting of the beard
added a luminous quality, emphasizing the delicate
texture of the better. As we fast forward through the repetitive techniques
across multiple petals, the emphasis on consistency in our layering methodology
becomes apparent. This lined approach not
only ensure efficiency, but also underscore the mastery of a cosi painting technique. Throughout this
accelerated process, experimentation has
been encouraged, allowing artists to infuse their creative
flayer into the mix. As we conclude this
painting session, let us celebrate the
journey of observation, skill building, and creativity that has brought
us to this point. Your artistic davor are not
only reflection of technique, but a personal expression of the unique allure inherent
every Yes better. As we conclude this intensive
session of painting, I want to extend my heartfelt congratulations
to each and every one of you dedications your creativity and commitment to
the artistic process that truly shone through. Navigating the intricacies of watercolor painting demands
both patience and skill. I commend you for
your preservance. Whether you carefully
captured the details of the anther and the do
skillfully layered the petals, your unique approach has contributed to a
collective masterpiece. This gene was not
Tebot technique. It was a shared exploration of creativity, observation,
and expression. I encourage you to showcase
your finished works, share your insights
and celebrate this milestone with our
artistic community. Remember, that is a
continuous journey and your enthusiasm and
dedication pave the way for even more remarkable
creations in the future. Once again, congratulations
on the job. Well done. May your precious continue
to dance with creativity, and may your artistic endeavor
bring you endless joy and fulfilment. Happy painting.
10. Conclusion: As we conclude our
artistic exploration of this is problems, I want to express my gratitude
for your enthusiasm, creativity, and dedication
throughout this journey. Each stroke, each question, and each shared movement
has contributed to a vibrant community of
learning and inspiration. Remember, this class is just the beginning of
your artistic adventure. Continue to hone your skill, expel new subjects and
literal creativity, flourish. Shy from experimenting with different techniques and colors. It is in the process
of exploration that we uncover the depth of
our artistic potential. Now I encourage you to take the next step up,
what you have learned. To embark on new
projects and share your creative sessions
to the world, whether it's through the
social media channels, personal exhibitions,
or the ski community. Your art deserves to be
seen and celebrated. Keep the dialogue
alive as questions, offer insights and connect
with your fellow artists. Always remember, art is a continuous journey and each
creation is a step forward. I am excited to see the
beautiful work that will thank you for being part
of this creative endeavor. As you continue your
artistic pursuit, me, your passion of
art, grow your skill. Sigo and your artistic
homes resonate heresy. Future filled with
endless possibilities and artistic triumph. Keep creating, keep exploring. And most importantly,
engine the journey. Wishing you all the best on this artistic adventures and see in the next
class. Thank you.
Sunitha Gopal, Fine Artist | Art consultant
